 We are here to see an artist in the world today. This is actually a practice. She's a star in the practice, so... I don't know. I'm not sure if you guys are pleased. I know, but you're so little. You're sharing what you think you should share and how you do that. There's no way you can ignore that thing. I'm working all night, so you can come and see the talk. We're going to start to have a little thing. A light and day without the blue. Completely four pound. Theater for everybody. Yes, everybody. That's it. What should we do? And indeed, by understanding the white relationships that have already changed. Survival with Seagal as an art form depends on that. So thank you, everybody, for coming here to the Martini Seagal Theater Center at the Greater Center CUNY. I see many familiar faces, so I feel slightly guilty to show you our propaganda video, but there are some new guests in the room, and we are proud of what we do here. And someone once told me, if you don't praise yourself, no one ever will. So I think we put this out to communicate a little bit of what we are doing. My name is Frank Henschka. I'm the director of the Seagal Center, and we do bridge academia and professional theater international and American theater for over a decade here at the Greater Center CUNY. And tonight is a very special evening for us. It is the second evening with Hans-Tis Lehmann, who came all the way from Germany via South America and Yale to us. And it's also a special personal connection. I was a student of Hans-Tis Lehmann at the now legendary Giesen Institute, where people also say it was the most unlucky academy for the traditional German theater ever. It destroyed what used to be the good theater, and we are very...